Collateral (ENGLISH)

Collateral (James Newton Howard). Atmospheric soundtrack, for moments ethereal, presents James Newton Howard's laborious score for the first time, since in the album of the original soundtrack only 4 themes of the composer were included. The original 2004 album is a good mixing of songs and abundant instrumental tracks, which are not limited to the ones composed by Newton Howard. Tom Rothrock and Antonio Pinto turn out to be accredited as authors of the additional music, and 2 tracks of each one are used to complete Newton Howard's score. Between them, Antonio Pinto's Requiem (present in the 2004 edition, though it is not the version used in the film), the music of the final sequence.

The 2016 score album is functional but slightly showy for the listener who looks for evident melodies. Though this type of scores are those that demonstrate the real skill of a composer, probably only one theme of this soundtrack stands out in evident form during the visualization of the film, the previously mentioned Antonio Pinto's Requiem. This theme appears in the final scene, as soon as Vincent has died and Max and Annie leave the Metro coach, a theme that is not present in this compilation, which we consider to be an inexcusable circumstance.

On the other hand, the track Would Anyone Notice? (Finale), even being musically the most attractive track of this album, it is not the end used in the film. The track list indicates close to the name of 2 of them that they are alternate versions (tracks 7 and 19), when the extras have been clearly differentiated and identified at the end of the compilation, so this indication might be obviated when other 2 tracks exist with the same title and in which it is already explained that they are another different version. That does not do an equivalent explanation with Would Anyone Notice? (Finale), when it is not the version used in the movie, it is, at least, remarkable. For it, the precision of which the list seems want to display with the indication that the tracks 7 and 9 are not the initially composed ones for this sequence (they are the tracks 21 and 22 indicated in the extras), dissolves when an evidently alternate track and with the importance of the final sequence does not offer any indication.

Beyond all of that, the 2016 album offers an atmosphere perfect to listen, with touches of Spanish guitar for the Latin setting of the drug-trafficker Felix and his place El Rodeo. The instrumentation grows with the movement of the thriller towards the action as we approach the final conclusion, especially with the utilization of rhythmic percussions, beginning with Race To Annie and finishing in Vincent Hops Train.